A mad-science cult favorite from the early ’70s gets its hi-def due as Shout! Factory brings SSSSSSS, from the producers of JAWS, to Blu-ray this spring as part of the Scream Factory line. Read on for the complete specs and the cover art.

Frank Darabont did just fine adapting Stephen King’s THE MIST as a feature film, but Dimension, which released the movie, is taking another whack at the story via its TV division, and is a step closer to getting it on the air.

In the world of horror hosts, there have been many who made a career of their sharp wits and love for the horror audience, including Vampira, Svengoolie, Joe Bob Briggs, Elvira and many, many more. However, Eastbound fright fans should undoubtedly be familiar with the grandaddy of horror hosts, Zacherley (a/k/a John Zacherle), a seminal horror personality unlike any other. While Zacherley, “The Cool Ghoul,” has made a name for himself as a multifaceted talent in the horror community, he was equally as charming even outside the genre, as one can see in this rare clip of Zacherley in on the Cleveland-based MIKE DOUGLAS SHOW!

As detailed many times before here at FANGORIA, the craft of poster design was once somewhat of a lost art, resurrected only in recent years through the fantastic work of variant artists. Among them is the oft-praised Tom Hodge (aka “The Dude Designs), who has whipped up incredible designs for films such as FATHER’S DAY, WOLFCOP, THE SACRAMENT, ALMOST HUMAN and many more. However, Hodge has recently tackled one of his most high-profile genre posters to date, Johannes Roberts’ THE OTHER SIDE OF THE DOOR, and FANGORIA has the most recent of the batch exclusively below!

While the small screen adaptations of big screen horror classics do pose many benefits for those involved, one of the undeniably negative aspects are the size of the shoes that need to be filled. After all, when Mads Mikkelsen and Freddie Highmore step into the roles made iconic by Anthony Hopkins and Anthony Perkins, there’s a certain inherent apprehension audiences will have until they prove themselves as equally essential to the character. Certainly, that’s the case for any and all involved in the upcoming pilot for THE EXORCIST, a modern retelling of William Peter Blatty’s groundbreaking horror story, and that would probably go for no one more than actress Brianne Howey, who, according to Deadline, has signed onto the series in a pivotal role.

One of the reasons John Carpenter’s work as a whole holds up so well is because, more often than not, the filmmaker never really had to resort to gimmicks or tropes. Whether he was telling stories about aliens, ghosts or the devil himself, he did so with a unique perspective and master-class craftsmanship, instantly creating a singular approach that didn’t need any narrative or stylistic crutches to seem in tune with his more popular contemporaries. However, if there was any instance where Carpenter might have relied on the tropes of his time (and, impressively, retain most of his cinematic voice), it would be CHRISTINE.

Of course, CHRISTINE’s execution also has much to do with the source material, considering the film is an adaptation of the Stephen King novel of the same name. King’s voice in and of itself is unique, and for the most part, the more effective adaptations of his work seem to almost be bonded by that voice in tone. And in terms of CHRISTINE, there’s no doubt that Stephen King’s particular portrayal of suburbia bleeds through Carpenter’s lens, with the characters, dynamics and dialogue all feeling closer to the author as opposed to the filmmaker. In fact, Carpenter’s voice largely comes through in the film’s sequences of pure horror, in which the filmmaker of THE FOG and HALLOWEEN comes out to play in a big, bold way.

However, from the “Bad to the Bone” introduction to the “punk gang” to the inquisitive gumshoe detective, there’s something oddly studio-driven about CHRISTINE. Throughout the film, Arnie’s relationship with CHRISTINE is portrayed via the performances as co-dependent, much more like an emotionally abusive relationship than an addiction; however, as much as the film leans in that direction, the film always seems to pull back, choosing to favor a more monster movie construct than Carpenter or even King’s more curious implications. Even the love triangle between Arnie, Dennis and Leigh feels strangely underdeveloped and streamlined, leading to the film’s narrative identity crisis as the film shifts from Arnie to Dennis almost carelessly.

Yet at the end of the day, CHRISTINE still fits within Carpenter’s filmography, complete with a John Carpenter/Alan Howarth score, top-notch action direction and some truly imaginative horror sequences. For instance, the suspense building up to Moochie’s death scene (and even the execution of that sequence in general) is totally terrifying, and 100% evocative of Carpenter’s cinematic style. Even the choking scene in CHRISTINE evokes the visual stylings of THE FOG, especially with the lighting and the editing; in fact, the film’s cinematographer Donald M. Morgan may not be Dean Cundey, but he sure as hell makes CHRISTINE look like a Carpenter/Cundey collaboration. Furthermore, the performances on display are riveting, passionate and (for the most part) organic in a way that certain King character’s typically are not, showing Carpenter’s talent as an actor’s director.

Carpenter also does a great job of establishing CHRISTINE as a credible villain, which could be difficult to a less-skilled filmmaker who might have been more inclined to turn the film into a JAWS rip-off. With the unique design of CHRISTINE aside, Carpenter gives CHRISTINE emotions and makes the car more than just a prop, but rather a well-rounded character. And while the songs that come on the radio during her attack sequences do feel gimmicky (in both a studio and Stephen King way), the more subtle ways that Christine torments and acts out in protection of Arnie comes across with a straight face as opposed to a winking eye.

Overall, with over 30 years since CHRISTINE roared into theaters, the film is a truly fascinating watch in retrospect. With the voices of Stephen King, John Carpenter and the ‘80s studio system swirling about, especially considering Carpenter’s post-THING reputation in mind, CHRISTINE is a film unlike most in the filmmaker’s prolific filmography. However, that’s not necessarily a bad thing, as, despite some dated elements, CHRISTINE still runs like a beaut in 2016.

When it comes to art house entries into the genre, Arrow Video is truly going above and beyond to preserve the obscure and odd from throughout horror history. While their releases as of late have included more notorious films such as THE MUTILATOR, BLOOD & BLACK LACE and EATEN ALIVE!, Arrow Video has doubled down on their mission statement with their latest box set, a trio of vintage terror titles dubbed AMERICAN HORROR PROJECT, VOLUME 1. And as one might expect, Arrow Video has given each film the definitive high def treatment, complete with 2K restorations and enough special features to win over even the most jaded Blu-ray collector.

Although this week’s episode of THE HORROR SHOW was to complete their Valentine’s Day special, sometimes real life horror gets in the way! Therefore, this week’s episode sees Sean, Joe and very special guests knock out The Super Emergency Show Spectacular!

With voting season now open on the FANGORIA Chainsaw Awards, fans are putting their minds at work to select their favorites out of every potential nominee. When it came to Best Score, there were many deserving compositions that chilled FANGORIA throughout the year, from THE FINAL GIRLS to KRAMPUS to SPRING. Nevertheless, only five scores could creep through the competition and take that extra step towards genre greatness.